Opera going south

A Peckham production of "Dido and Aeneas" is not quite bold enough

Dido and Aeneas, Bussey Building, Peckham. 7.30pm Thursday 10 January 2013

Although still more synonymous with knife-crime than culture, Peckham is enjoying something of a sea-change at the moment. Last year saw the Royal Court venture south for a series of performances in their new “Theatre Local” project, and for one night during the summer a multi-storey car-park became the unlikely stage for a remixed performance of Stravinsky’s iconic ballet The Rite of Spring. The hub of the action is Peckham’s Bussey Building – a venue best-known for its raves, but now developing an alter-ego as the progressive arts venue of choice south of the river. But while the Royal Court’s brand of contemporary theatre is a major step, how much greater a leap is the venue’s latest project: 18th century opera.

In many ways Purcell’s Dido and Aeneas is the perfect opera for today. Tate’s English libretto may have the odd metaphorical flight of fancy, but is otherwise straightforward and easily understood, even without the help of surtitles. The themes – love and betrayal – are classics, and the whole cycle from infatuation to despair and death takes just under an hour to run its course, leaving plenty of time for a drink and debrief afterwards.

So why did I leave Opera In Space’s performance so confused?

It’s always going to a challenge performing opera in unusual spaces. I’ve attended performances over the years in warehouses, office-buildings, pubs, gardens, boats and even a nightclub, and each unusual venue only makes me more grateful for the classic opera house, with its controlled acoustics and excellent sight-lines. While the promenade elements of this Dido give everyone a fair shot at seeing at least some of the show, a directorial preference for on-floor writhings means that large chunks are completely obscured, and the traverse-style setup in the main staging area effectively prevents a third of the audience from seeing all but the merest glimpse of the action.

The concepts too are decidedly unclear, not aided by some rather gawky tableaux vivants by way of “overture”, juxtaposing bursts of African drumming with blandly symbolic stage-pictures. Spoken text is also rather unnecessarily included later in the show (which exists in that generic no-time, no-place of contemporary theatre), adding little by transforming the Carthaginian Queen and her ladies into schoolgirls chattering about their A level studies. If director Richard Pyros had a coherent vision for the piece then he kept it concealed.

Pasticcio was a favourite genre of the 18th century opera house – essentially stitching together the best bits from various composers’ works into a single dramatic work – and Opera In Space make a clever nod to this in their interpolation of jazz songs into Purcell’s score. But I would have loved to see smarter choices than the unambiguous “Misty” (in case we hadn’t realised that Dido was smitten with her charisma-free Aeneas) and Jerome Kern’s “All The Things that You Are”, which suffered from an awkward arrangement and uneasily low key.

There is much to like here though. The singing is generally solid, with the cast led by Carleen Ebbs’ polished Belinda, singing elegantly and idiomatically in ensemble with Marie Degodet (Second Woman) and Sylvia Gallant’s Dido. Gallant is at the higher end of mezzos, which lends her despairing queen a youthfulness but also a lightness that Purcell’s writing happily accommodates. Adam Kowalczyk did his best with Aeneas, but struggled to make much impression dramatically in the space of his limited music.

There is a saucily revisionist take on the Sailors’ “Come Away” that works beautifully, and some effective atmospherics for the Sorceress and her lair. But the chief delight though is the instrumental work from harpsichordist Katie de la Matter and her skeleton band. Not for nothing was Purcell the master of the ground bass (a riff, by any other name); his music has such excellent bone-structure that even when you strip away all the usual layers of colour you are still left with something beautiful, especially when stylishly articulated here by cellist Poppy Walshaw and violinist Eleanor Harrison.

It’s hard to leave Opera In Space’s Dido and Aeneas and not feel like you’ve just had an evening of cut-price Punchdrunk. The promenade setup and venue are great, and cry out for something just a little bolder, a little less politely safe. There’s an uneasy compromise here between traditionalism and experimentation which hasn’t quite found its balance. Would I return for another production? Absolutely. But on current form it may take a few more tries to make this worthy and interesting project the enjoyable experience it could so easily be.

An image from Opera in Space's "Dido and Aeneas". Credit: Sally Neville
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Casting the Brexit movie that is definitely real and will totally happen

Details are yet unclear as to whether The Bad Boys of Brexit will be gracing our screens, or just Farage's vivid imagination.

Hollywood is planning to take on the farcical antics of Nigel Farage et al during the UK referendum, according to rumours (some suspect planted by a starstruck Brexiteer). 

Details are yet unclear as to whether The Bad Boys of Brexit will be gracing our big or small screens, a DVD, or just Farage's vivid imagination, but either way here are our picks for casting the Hollywood adaptation.

Nigel Farage: Jim Carrey

The 2018 return of Alan Partridge as "the voice of hard Brexit" makes Steve Coogan the obvious choice. Yet Carrey's portrayal of the laughable yet pure evil Count Olaf in A Series of Unfortunate Events makes him a serious contender for this role. 

Boris Johnson: Gerard Depardieu

Stick a blonde wig on him and the French acting royalty is almost the spitting image of our own European aristocrat. He has also evidently already mastered the look of pure shock necessary for the final scene of the movie - in which the Leave campaign is victorious.

Arron Banks: Ricky Gervais

Ricky Gervais not only resembles Ukip donor Arron Banks, but has a signature shifty face perfect for the scene where the other Brexiteers ask him what is the actual plan. 

Gerry Gunster: Anthony Lapaglia

The Bad Boys of Brexit will reportedly be told from the perspective of the US strategist turned Brexit referendum expert Gerry Gunster. Thanks to recurring roles in both the comedy stalwart Frasier, and the US crime drama Without a Trace, Anthony Lapaglia is versatile enough to do funny as well as serious, a perfect mix for a story that lurches from tragedy to farce. Also, they have the same cunning eyes.

Douglas Carswell: Mark Gatiss

The resemblance is uncanny.

David Cameron: Andrew Scott

Andrew Scott is widely known for his portrayal of Moriarty in Sherlock, where he indulges in elaborate, but nationally destructive strategy games. The actor also excels in a look of misplaced confidence that David Cameron wore all the way up to the referendum. Not to mention, his forehead is just as shiny. He'll have to drink a lot of Bollinger to gain that Cameron-esque puppy fat though. 

Kate Hoey: Judi Dench

Although this casting would ruin the image of the much beloved national treasure that is Judi Dench, if anyone can pull off being the face of Labour Leave, the incredible actress can.